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clear glass, which introduces light more powerful than that shining
through the stained glass, thus destroying the effects of color in the
"THE LAST SUPPER," SIENA CATHEDRAL, ITALY
The work of Pastorino and Piero del Vaga (16th c.)
The art of the stained-glass designer was based
on the clear understanding of this principle at the very beginning, and
has never varied from it in the hands of those who really know the
essentials of stained glass making.
The most notable features characteristic of the
thirteenth-century stained glass may be said to be-- First: The
colors are deep and strong, and have very little white glass in the
WINDOWS OF THE SOUTH TRANSEPT
Cathedral of Chartres, France
The workmanship of the stained-glass windows
of Chartres Cathedral is unsurpassed in France.
Many windows date from the thirteenth century.
Second: The figures and architecture have
no perspective in their representation, that is to say, they all seem to
be directly in the foreground.
Third: The drawing, definitely calculated
for the distance from which it was to be seen, had just enough shading,
either in cross-hatching lines or flat tint, to overcome the irradiation
of the rays of light shining through the glass.
Fourth: The outlines are almost completely
expressed in the cutting of the glass, so that the black lines of the
lead holding the pieces together express the forms.
Fifth: Very wide borders of patterns cut
in small pieces of glass with only a little painted design on them,
surrounding the whole.